Abstract
As will be shown in this entry, the genesis of the present work as read in the X-radiograph and in the paint surface displays the familiar characteristics of Rem- brandt’s exploratory way of realizing his conception. This approach is coupled with a decisive and impulsive hand- ling of the brush. Production of this painting, like so many of Rembrandt’s late works, stopped at a stage that many of his contemporaries would have considered unfinished, but which must have been understood as typical of the master by the art lovers of his time.
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Notes
V.R. Mehra, ‘Nap-bond cold-lining on a low-pressure table’, Maltechnik/Restauro 81 (1975), pp. 87–95.
C. Brown, in: exhib. cat. Rembrandt Paintings, 1991/92, p. 292 note 5, misunderstood our explanation of this phenomenon in Volume II, pp. 19-20. First, he confused the remains of the remnants of adhesive belonging to an earlier lining with the bulging drops of ground pressed through the canvas, and subsequently interpreted this ground as paint.
E. van de Wetering, CM. Groen and JA. Mosk, ‘Summary report on the results of the technical examination of Rembrandt’s Night Watch’, Bulletin van het Rijksmuseum 24 (1976), pp. 68–98, esp. 88 and fig. 8.
According to Broos, only M.J. Friedländer noted in his copy of the catalogue of the 1899 London exhibition mentioned below: ‘z(um) T(eil) Unecht’. See B. Broos, Meesterwerken in het Mauritshuis, The Hague 1986, cat. no. 42, pp. 311–315.
A. Bredius, ‘De Rembrandt-tentoonstelling te Londen’, in: De Amsterdammer, Weekblad voor Nederland, 22 and 29 January and 5 and 12 February 1899.
Exhib. cat. Rembrandt. Paintings, 1991/92, p. 290.
J. Rosenberg, Rembrandt. Life and work, London 1964, p. 55. See also, for example, O. Benesch, Rembrandt. Werk und Forschung, Vienna 1935, p. 69: ‘Aus Rembrandts Zügen im Sterbejahr spricht das tiefe Wissen um die Grenzen seiner Kunst’ and F. Schmidt-Degener, exhib. cat. Rembrandt, Rijksmuseum Amsterdam 1935, no. 32: ‘…hij [maakt] op 63-jarigen leeftijd den indruk van een vroeg-ouden en uitgeputten grijsaard. De wangen zijn ongezond opgezet, het haar is wit onder de kleurige schildersmuts’ (…he [makes] the impression at the age of 63 of a prematurely old and exhausted man. The cheeks are unhealthily bloated, and his hair, protruding from under the colourful painter’s cap, is white). As Broos already remarked, According to Broos, only M.J. Friedländer noted in his copy of the catalogue of the 1899 London exhibition mentioned below: ‘z(um) T(eil) Unecht’. See B. Broos, Meesterwerken in het Mauritshuis, The Hague 1986, cat. no. 42, pp. 311-315 op. cit.4, it is telling that in the London Self-portrait no traces of deterioration due to ageing were detected until the date 1669 emerged when the painting was cleaned in 1967.
Chapman 1990, p. 130.
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© 2005 Stichting Foundation Rembrandt Research Project
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(2005). Self-portrait. In: A Corpus of Rembrandt Paintings. Rembrandt Research Project Foundation, vol 4. Springer, Dordrecht. https://doi.org/10.1007/978-1-4020-4441-0_34
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